Occult Geometry

Interprets And Explains Symbols, Nature's Universal Language. Shows How God Geometrizes To Produce The Universe And Man And That In Understanding Himself, Man Understands The Big Universe.

Interprets And Explains Symbols, Nature's Universal Language. Shows How God Geometrizes To Produce The Universe And Man And That In Understanding Himself, Man Understands The Big Universe.

Design and Debris discusses the relationship between order and disorder in the works of John Hawkes, Harry Mathews, John Barth, Gilbert Sorrentino, Robert Coover, Thomas Pynchon, Kathy Acker, and Don DeLillo. In analyzing their work, Joseph Conte brings to bear a unique approach adapted from scientific thought: chaos theory. His chief concern is illuminating those works whose narrative structures locate order hidden in disorder (whose authors Conte terms proceduralists), and those whose structures reflect the opposite, disorder emerging from states of order (whose authors Conte calls disruptors). Documenting the paradigm shift from modernism, in which artists attempted to impose order on a disordered world, to postmodernism, in which the artist portrays the process of orderly disorder, Conte shows how the shift has led to postmodern artists' embrace of science in their treatment of complex ideas. Detailing how chaos theory interpenetrates disciplines as varied as economics, politics, biology, and cognitive science, he suggests a second paradigm shift: from modernist specialization to postmodern pluralism. In such a pluralistic world, the novel is freed from the purely literar

A comprehensive guide to the history and practice of Angular Magic • Details the development of the magical system of the Nine Angles by the Church of Satan and the Temple of Set, as well as its internal body, the Order of the Trapezoid • Analyzes the 3 key rites of Angular Magic: Die Elektrischen Vorspiele, the Ceremony of the Nine Angles, and the Call to Cthulhu • Explores historical influences on Angular Magic, including Pythagorean number mysticism, John Dee’s Enochian magic, and the writings of H. P. Lovecraft • Includes practical examples, daily practices, and guidance on creating your own rituals Revealing the magical uses of number and geometry as tools for introspection, self-development, and creating change in both the inner and outer worlds, Toby Chappell explores the rites, history, and potent practices of Angular Magic and Infernal Geometry, the Left-Hand Path of Sacred Geometry. Focusing on the advanced magical system of the Nine Angles, he details the system’s development by the early Church of Satan and later the Temple of Set, as well as its internal body, the Order of the Trapezoid. He shows how the system first emerged in the Ceremony of the Nine Angles, written by Michael Aquino and published in Anton Szandor LaVey’s The Satanic Rituals. He explores historical influences on Angular Magic, including Pythagorean number mysticism, John Dee’s Enochian magic, the theories of William Mortensen, and, most importantly, the writings of H. P. Lovecraft as well as other contributors to his Cthulhu mythos. The author analyzes the 3 key rites of Angular Magic: Die Elektrischen Vorspiele, the Ceremony of the Nine Angles, and the Call to Cthulhu, expanding upon them to demonstrate how readers can craft their own rituals. He examines the Nine Angles individually, detailing their keywords, powers, and related deities, and explains how each can be used in magical practices and as part of an ongoing initiatory process. He offers practical examples, including use of Angular Magic in divination, sigils, and magical symbols, and guidance on creating your own practices--a core component of the ever-evolving Left-Hand Path. Offering a self-directed path of magic and empowerment, previously unavailable to those outside the Temple of Set, Chappell shows how the Nine Angles must be worked with and experienced personally in order to effect true transformation and change.

Addressing both the literature and the visual arts of Anglo-American modernism, The Geometry of Modernism recovers a crucial development of modernism's early years that until now has received little sustained critical attention: the distinctive idiom composed of geometric forms and metaphors generated within the early modernist movement of Vorticism, formed in London in 1914. Focusing on the work of Wyndham Lewis, leader of the Vorticist movement, as well as Ezra Pound, H.D., and William Butler Yeats, Hickman examines the complex of motives out of which Lewis initially forged the geometric lexicon of Vorticism—and then how Pound, H.D., and Yeats later responded to it and the values that it encoded, enlisting both the geometric vocabulary and its attendant assumptions and ideals, in transmuted form, in their later modernist work. Placing the genesis and appropriation of the geometric idiom in historical context, Hickman explores how despite its brevity as a movement, Vorticism in fact exerted considerable impact on modernist work of the years between the wars, in that its geometric idiom enabled modernist writers to articulate their responses to both personal and political crises of the 1930s and 1940s. Informed by extensive archival research as well as treatment of several of the least-known texts of the modernist milieu, The Geometry of Modernism clarifies and enriches the legacy of this vital period.

"Given the historical orientation of philosophy, is it unreasonable to suggest a wider cast of the net into the deep waters of magic? By encountering magical thought as theory, we come to a new understanding of a thought that looks back at us from a funhouse mirror."—The Occult Mind Divination, like many critical modes, involves reading signs, and magic, more generally, can be seen as a kind of criticism that takes the universe—seen and unseen, known and unknowable—as its text. In The Occult Mind, Christopher I. Lehrich explores the history of magic in Western thought, suggesting a bold new understanding of the claims made about the power of various belief systems. In closely interlinked essays on such disparate topics as ley lines, the Tarot, the Corpus Hermeticum, writing and ritual in magical practice, and early attempts to decipher Egyptian hieroglyphics, Lehrich treats magic and its parts as an intellectual object that requires interpretive zeal on the part of readers/observers. Drawing illuminating parallels between the practice of magic and more recent interpretive systems—structuralism, deconstruction, semiotics—Lehrich deftly suggests that the specter of magic haunts all such attempts to grasp the character of knowledge. Offering a radical new approach to the nature and value of occult thought, Lehrich's brilliantly conceived and executed book posits magic as a mode of theory that is intrinsically subversive of normative conceptions of reason and truth. In elucidating the deep parallels between occult thought and academic discourse, Lehrich demonstrates that sixteenth-century occult philosophy often touched on issues that have become central to philosophical discourse only in the past fifty years.